Moving to music may significantly enhance our appreciation of a performance of a music work. Implications for the encouragement of movement in education for music appreciation are discussed. (RM)

Criticizes the curricula of most university music schools and conservatories in the United States for their lack of a global approach and for their focus on Western classical music. Encourages the development of a new curriculum that includes the study of folk, popular, and non-Western musics. (LS)

Compares preferential ratings of art music among 100 music majors and 100 nonmusic majors. Finds that music majors' preference ratings were significantly higher than those of the nonmajors. Also finds that Likert-scale ratings of nonmajors using the Continuous Response Digital Interface were higher than those using a static measure. (CFR)

Presents a class activity in which student describe and classify music as an introduction to writing classification essays. (SR)

Presents results of a study that explored the effect of overt categorization on musical preference. Found no difference in choices of nonmusic majors when choices were structured as stipulated, unstipulated, or free form categories. Finds musical experience and gender affected preferences for pop and jazz, but not for rock music. (DK)

This paper presents research surveying the responses of university students enrolled in music classes for nonmusic majors with regard to several aspects of required concert attendance. Groups of subjects (n=258) enrolled in courses with required concert attendance were compared to those in courses without such a requirement. Results indicated that…

This study measures the knowledge, preferences, and opinions of Eastern Kentucky University football fans about their marching band and relates high school musical and/or athletic experience to those preferences. Data was obtained from a questionnaire distributed to a sample of the student body. The results indicate that people with musical…

The music education program should be primarily aesthetic education. It is listening that lends itself to the most efficient and effective means toward music appreciation. Skills and concepts that lead to music appreciaiton are discussed. Difficulties that students may encounter are examined. (RM)

Music is a fact of life in the educational system of Israel, from the kibbutzim to the public schools, from the conservatories to the army. Describes the program at the conservatories and at Tel-Aviv University. Musical experience is already a reality for all, but the extreme cultural diversity presents problems. (CS)

Developed a model and tested the following hypotheses: (1) esthetic features--tempo, rhythm, dynamics, and phrasing in piano performance--are accurately perceived by audience members and (2) such perceptual veridicality does not depend upon one's degree of education/training and is therefore shared by critics and audience members. (PD)

Noting that the use of behavioral objectives poses a particular problem for arts instruction, since it is difficult to formulate the aesthetic experience into identifiable behaviors, the author suggests that Polanyi's theory of tacit knowing may help explain how formal music study can influence the aesthetic experience of music. (Author/SJL)

Presents several examples of short Hispanic ballads for incorporation into advanced secondary school and undergraduate courses. The ballads' historical and cultural significance are explored as well as their linguistic value. (CB)

Analyzes orchestral repertoire data as indications of musical taste. Collects data from 34 U.S. and Canadian symphony orchestras from 1982 through 1987. Summarizes and compares programing of 600 composers and 10,500 works. Reveals that Mozart was most frequently performed, and Beethoven was given most time. Shows relationship between student and…

Describes a college level course in opera for nonmusic education students. Contends that students benefited from the enriching experience of the course. Includes a list of 10 operas recommended for an introductory course. (CFR)

Explains that instead of using the popular arts to make studying humanities relevant to the lives of students, educators can focus on positive examples from the fine arts that students can identify with and introduce their students to a new world of alternatives in music, literature, and art. (CMK)